Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Monaco and from Lyon.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1978.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Milan kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Scratch Acid to the dance kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Icehouse. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Babytalk,
Orchestral Manoeuvres in the Dark,
Black Sheep,
The Buckinghams,
Crispy Ambulance,
Sun City Girls,
The Angels of Light,
Schoolly D,
Slave,
New York Dolls,
Pete Rock & C.L. Smooth,
The Residents,
Aaron Thompson,
Echospace,
Glenn Branca,
Drexciya,
Nick Cave & The Bad Seeds,
Harpers Bizarre,
Radio Birdman,
Shoche,
Lebanon Hanover,
The Fall,
Sex Pistols,
Supertramp,
Wighnomy Brothers & Robag Wruhme,
The Electric Prunes,
R.M.O.,
Oblivians,
Monks,
Rufus Thomas,
Lee Hazlewood,
The Cramps,
Gil Scott-Heron and Jamie xx,
Boz Scaggs,
Minny Pops,
Sixth Finger,
Ultimate Spinach,
Marcia Griffiths,
Con Funk Shun,
Crash Course in Science,
Roy Ayers,
Nation of Ulysses,
The Moody Blues,
Anakelly,
The Slits,
Bill Near,
The Beau Brummels,
Matthew Bourne,
the Soft Cell,
Kerri Chandler,
The Techniques,
Stockholm Monsters,
The Knickerbockers,
The Walker Brothers,
Cal Tjader,
Scan 7,
Alison Limerick,
Boredoms,
Bizarre Inc.,
Visage,
Tim Buckley,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.